Fenil and Bollywood

Posts Tagged ‘BigB

By Subhash K Jha (MUMBAI MIRROR; November 04, 2009)



W e’ve discovered the secret to how Amitabh Bachchan flawlessly sang in a child’s voice for Paa recently. Director Balki reveals that Amitabh has been able to effortlessly replicate the voice of a 12-year-old for his dialogue and song in the film by using specially designed dentures.

Balki says, “It’s all about the special dentures we got made for our boy-hero Auro (Amitabh’s character in Paa). The minute Mr Bachchan wears the dentures, he sounds like Auro.”

Explaining how it works, Balki adds, “It’s partly to do with the shape and size of the dentures, which help change Mr Bachchan’s voice. He gets a lisp and his speech pattern gets altered because of the extra teeth.”

Amitabh wore the dentures throughout the film’s shooting and also had them on while dubbing. “You can call them magical teeth…they’ve helped transform Mr Bachchan on the sets and also in the dubbing studio,” says Balki.

About the title track sung by Amitabh, Balki says, “Ilaiyaraaja sent us the track his own voice from Chennai. Mr Bachchan recorded for it and the track was sent back to Ilaiyaraaja for mixing.”

Love Aaj Kal4


I still can’t believe this! The predictions which I made 8 weeks back have proved to be almost true! In my talk no. 53, I had made a prediction of 8 yet-to-be-released Hindi films and guess what, 7 of them have proved to be completely right!

According to my predictions, New York, Kambakkht Ishq and Love Aaj Kal would be successful at the BO. Barring Kambakkht Ishq, New York became a hit while Love Aaj Kal (released last Friday) took a fabulous opening and may soon become the biggest hit of 2009 so far! Then, I had guessed that Paying Guests, Let’s Dance, Runway and Short Kut would flop commercially and all these film did indeed bit the dust! Adhyayan Suman starrer Jashnn would be disastrous, according to my guess, and the same happened!

The only film for which my prediction didn’t hit the mark was Kambakkht Ishq (KI). I had a feeling that the film would turn out to be great as it has come from the stable of producer Sajid Nadiadwala, who has given some of the best entertainers in the past. His films have been entertaining, interesting and have suited the taste of the moviegoers in general. However, KI failed to entertain many. Even though it took a great opening, the mixed response (mostly negative) took a toll in its collections. It has managed to be above-average. So I get 7 on 8 right which is not bad, I guess!

Talking about Love Aaj Kal, the huge opening is an indication that the film may be hugely successful overall. If that is so, then it may turn out to be Saif’s biggest hit so far! Not to forget, this may be the biggest hit by any debut producer-actor ever (Saif Ali Khan is also producer of the film)!

Normally, it is the general tendency to remember an actor’s failures more than his hits. But with Saif, it’s happening reverse-people have forgotten that he delivered three duds last year (Tashan, Thoda Pyaar Thoda Magic and Roadside Romeo). He’s already in the line of upcoming superstars. If Saif’s upcoming flicks, Agent Vinod (also starring Kareena) and Kurbaan (again Kareena and also Vivek Oberoi) prove to be hits, Saif ki nikal padegi!




The week gone by was fabulous due to Love Aaj Kal’s release and also because the promos of as many as 8 upcoming films were unveiled before the audiences! Never before have so many promos of different films have come out in such a short time. These 8 films were Aladin (Ritesh, BigB, Sanju), Acid Factory (Fardeen, Dia, Irrfan Khan, Aftab, Manoj Bajpayee, Danny), Wanted (Salman and Ayesha), ‘What’s Your Raashee?’ (Priyanka in 12 roles and also Harman), Do Knot Disturb (Govinda, Ritesh, Sush, Lara, Sohail, Ranvir Shorey), Accident On Hill Road (Celina and Abhimanyu Singh), Vaada Raha (Bobby and Kangna) and Fox (Sunny Deol, Arjun Rampal, Udita Goswami, Sagarika Ghatke)! Whew! The teasers of Wanted, ‘What’s Your Raashee?’, Do Knot Disturb and Fox have already begun on TV. I feel the best promo out of all was that of Acid Factory. I have uploaded it below-do check! You’ll feel like watching it again and again!

FEELING THE LOSS: Amitabh Bachchan and (right) Prakash Mehra. The Man With The Midas Touch

‘Vijay’ of Zanjeer pays tribute to filmmaker Prakash Mehra who gave him that big break…

By AMITABH BACHCHAN Times News Network(BOMBAY TIMES; May 16, 2009)

Yesterday morning brought in news of the passing away of Prakash Mehra. What is it about death that draws one away into a vacuum and then starts filling it up with memories and nostalgia?

It was early 1971 when I met Prakashji for the first time at RajKamal Studios. He had come to ask me to work in his first home production film, Zanjeer. Salim-Javed that had written the script, had suggested my name to him. He had had a few successes as an individual director with the stars of the day — Dharamji, Shashiji and now wanted to go independent. That first meeting translated itself into a relationship, much documented now, in the annals of Hindi cinema history.

Prakash Mehra was an allrounder in his craft. He was first a writer and coming from the North had great sense of the language and its temperament. Writers gain recognition because of their inert story-telling capacity. That was
Prakashji’s forte. He was a great storyteller. A teller of stories that imbibed the qualities of drama and emotion and the farcical — all within the context of our rich national morals, culture and ethics. All of his films contained sufficient quantities of this. He was also a gifted lyricist, which many were unaware of. His contribution to the songs in his films were never credited, but there was never a moment in them, where he had not made significant contribution. And, he was a musician; his knowledge of the craft ably reflected in the music scores that adorned his stories and his films. Many of the tunes that were selected were at times actually sung by him to give an idea to the music directors on what form or tenor he wanted from them.

What he did not possess and what he paid scant respect to, was technology. Complicated camera angles through the use of sophisticated equipment, editing jugglery, excessive reliance on cinematic calisthenics, were distasteful to him. “Log kahani dekhne aayenge, camera ki kabaddi nahin!” was his oft-repeated refrain. His frames were simple therefore, steady and respectful to what the artists were doing; never
distracted by excessive zooms and trolley movements. He would place the camera at a spot and allow the scene to progress for as long as the artists could go. When we erred, he would not ask for a retake. He would merely cut the shot and move closer or at a different angle and ask us to continue from where we had last stopped.
His early years of apprentice with some of the most prominent makers of the time had perhaps insulated him from any of the more modern techniques. But his investments in other modes of modernisation in filmmaking were most relevant — the first Arriflex camera with the blimp, interesting lenses, a dubbing studio with state of the art facility, being some among them. He was a simple man who had come from very humble beginnings.
His commercial successes never ever betrayed his respect for the people that he grew up with or with those that remained with him during his phenomenal journey. He addressed me endearingly as ‘Lalla’ as did I him and each time he would be impressed by a shot that I gave, he would quietly walk up to me and kiss my forehead. He had an air of fun and comedy about him. Many a humorous moment in his films were on the spot instinctive introductions; though his own suppressed laughter, during the time of its enactment once the cameras were rolling, remained a perennial distraction for the artist and more particularly for the sound recordist! On many an occasion we had to plead with him to leave the set in order to be able to ‘can’ the shot without interruption.
He remained my neighbour throughout his film career; sympathetic and caring in moments of distress and exuberant in our moments of joy. He named his second son Amit after me and remained a proud father to his other two, Sumeet and Puneet. He bore the trauma of his ailing wife, lying in coma for years at his house, with great fortitude. We have lost a great filmmaker and a wonderful human. Lalla, I shall miss you. May you remain in peace wherever you are.


rannThis year, two films are set to release and both these film’s stories revolve around news channels and sensationalism. These two films are Percept’s Raftaar 24×7 and Ram Gopal Verma’s Rann. While Raftaar 24×7 stars Aditya Pancholi as the media baron and Emraan Hashmi as his favourite protégé and journalist, Rann has Amitabh Bachchan and Ritesh Deshmukh donning similar roles. And about 1 ½ months back, RGV changed the title of his film to India 24×7! So Raftaar 24×7 and India 24×7-two films with same plot now also have similar titles!

Although RGV is very keen to name his film as India 24×7, he may not be able to do it because ‘24×7’ is patented with NDTV channel. This means even Raftaar would have to drop 24×7 from their title. And how come they registered this title when 24×7 is patented with NDTV?

I loved the title ‘Rann’ a lot actually. The word means ‘war’ in Sanskrit and it suits the film as it is based on the war between news channels for attracting greater eyeballs. In RGV’s film, ‘India 24×7’ is the name of the news channel and that’s why he wanted this title.

Rann (let’s call it by its original name!) surely has a lot of chances to be a big hit. Besides Big B and Ritesh, it also stars Gul Panag, Raima Sen, Paresh Rawal, Mohnish Behl, Suchitra Krishnamurthy, Rajat Kapoor, Sudeep and Rajpal Yadav. Every actor in the film is of the view that Ritesh will surely be the scene-stealer in the film.


On the other hand, Raftaar looks like a small film in comparison! Besides Emraan and Aditya Pancholi, it also stars Neha Dhupia and Sagarika Ghatke. Directed by Shamim Desai, it is produced by Percept Picture Company while Rann is produced by Ghajini’s producer Madhu Mantena! So Raftaar will have to release before Rann or else it would be ignored completely. Also, it may be termed as ‘poor man’s Rann’!

Raftaar is in the news since long time so it’s shooting as well as post production should be nearing completion. RGV on the other hand is also completing Rann’s post production and is all set to start work on his next film, Rakta Charitra. So Raftaar would surely release first, maybe by August. As for Rann, it should hit the screens by the end of the year. Check the link below to know about the interesting characters in Rann and you’ll agree with me that Rann may prove to be one of the finest films of 2009!
The link: http://www.bollywoodhungama.com/slideshow/2009/04/18/373/index.html

Last week, MSian Shalu Dhyani made a very valid point regarding the tiff between multiplexes and producers. I had mentioned in my last week’s Bollywood talk as to how single screen theatres and moviegoers have to suffer in this ongoing tussle. Shalu observed that even the footfalls in malls nowadays have decreased due to no release of any significant film. Almost all multiplexes are located inside malls. Moviegoers who come to catch their favourite film in multiplex also indulge in shopping sometimes or most of the times, at least spend money at the food court. But with no new films releasing and multiplexes ‘forcibly’ running films like 8×10 Tasveer, Fast and the Furious etc, viewers are shunning multiplexes which in turn has taken a toll on the malls too.

Even food suppliers in theatres are facing the heat. With viewers hardly visiting theatres, samosa and pop corn sales have hit an all time low, affecting all the people related to this field. And an article in The Times of India last week confirmed that advertising agencies who own the large hoardings in cities are also facing losses since no new film is being promoted.

There must be many such people or agencies dependent on films who must be having a bad time right now. It’s high time the problem gets solved!

This post first appeared on MouthShut.com: